Ulakbilge - Sosyal Bilimler Dergisi
Sayı 8, Sayı 52  2020/9  (ISSN: 2148-0451, E-ISSN: )
Serdal YERLİ, Fahrettin GEÇEN

NO Makale Adı

In the present study, the inclusion of balance (and symmetry by extension), which is an essential element of Abstract Geometric and Classical Painting, in the paintings of Nuri İyem and its contribution to the paintings were examined. It is thought that specific view point on the paintings of İyem, who is among the important Turkish artists in the Republican era, willin crease the depth of the study and provide a wider perspective on the artist. Inpainting, balance can be expressed through variousmeans. The amount, location and distribution of figures can be established in an equal manner on two-dimensional surfaces. The search for balance is defined by considering the said factors of the components. Here, it does not matter whether the work is abstract or figurative as balance is required forworks in allstyles. Design can be arranged in two different types of balance as symmetrical and assymetrical balance. Symmetrical balance involves a general structure for med by well-proportioned and balanced components in terms of shape, direction and space. A two-way similarity of form that is separated by an imaginary line or plane can also be described as symmetrical. This proportioned balance represents the placement of symmetrical components in a manner that leave snoroom for alteration. Symmetrical balance forms a steady, established and firm composition. Nuri İyem strong is an important representative of pattern-based figurative painting in Turkey. Following the Second World War, Geometric Abstract Painting popularized by Bezaine and Manassier became dominant in Turkish painting. İyem, who adopted the figurative approach in the beginning of his art life like many contemporaneous artists, gravitated to wards Abstract paintings at one point and returned to the figurative approach again. This journey influenced the tachism that for med the symmetry in his paintings. The present study was designed as a qualitative study. Books, theses and articles were examined for data collection. The aim of the study is to reveal the way Nuri İyem implemented the symmetrical effect to establish balance in his portrait works. His frontal portraits that emphasize facial symmetry were discussed. In his frontal portraits, the symmetrical forms originating with in the face and the eyes in particular and their continued effects on the back ground were traced and as a result, it was observed that in his portrayal of Anatolian people, who he integrated with nature, the painter implemented the element of natural balance in addition totex tural balan ceintensively and successfully.

Keywords: Nuri İyem, symmetry, balance, Turkish painting